Path: utzoo!utgpu!jarvis.csri.toronto.edu!mailrus!ncar!unmvax!bbx!bbxsda!scott
From: scott@bbxsda.UUCP (Scott Amspoker)
Newsgroups: comp.music
Subject: Re: What makes a piece of electro acoustic music a masterpiece?
Message-ID: <597@bbxsda.UUCP>
Date: 2 Feb 90 17:29:42 GMT
References: <1990Feb1.074731.19127@intacc.uucp> <20400@watdragon.waterloo.edu> <2825@draken.nada.kth.se>
Reply-To: scott@bbxsda.UUCP (Scott Amspoker)
Organization: Basis International,  Albuquerque, NM
Lines: 22

In article <2825@draken.nada.kth.se> d88-sli@nada.kth.se (Stefan Lindmark) writes:
>Many composers are fascinated by synthesizers and electronic instruments. The
>problem is that quite a few of them are writing the same music for those 
>instruments as they would have using "old" instruments.
>[...]
>A dilemma is that much music is written "the other way", i.e. the composer
>have been looking on what the specific synthesizer can do, and then composed 
>his music, trying to include those features. This leads to a great lack of
>feeling in the piece (not saying that those pieces don't have a special kind
>of charm).

You touched upon a recurring dilemma for me.  I have an "unofficial" rule
that any thing I write has to sound good just being played on a piano.
However, sometimes I come across a synth patch that I can't resist and
write with that patch in mind.  It's a balancing act.  I normally don't
care much for electronic music that sounds like a features demo.

-- 
Scott Amspoker
Basis International, Albuquerque, NM
(505) 345-5232
unmvax.cs.unm.edu!bbx!bbxsda!scott